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The Moving Image is a collection of poems by Judith Wright.
Notes
Dedication: To My Father
Epigraph: Time is a moving image of eternity (Plato)
Contents
* Contents derived from the Melbourne,Victoria,:Meanjin Press,1946 version. Please note that other versions/publications may contain different contents. See the Publication Details.
"This ploughland vapoured with the dust of dreams,"
Soldier's Farmi"This ploughland drifted with the smoke of dreams,",Judith Wright,
single work poetry
(p. 18)
The Trainsi"Tunnelling through the night, the trains pass",Judith Wright,
single work poetry war literature
(p. 19)
The Idleri"The treasure islands were his desired landfall:",Judith Wright,
single work poetry
(p. 20)
Waitingi"Day's crystal hemisphere travels the land.",Judith Wright,
single work poetry
"Tonight, bringing in the new year not with bells"
To A.H., New Year 1943i"To-night, bringing in the new year not with bells,",Judith Wright,
single work poetry war literature
Sonneti"Now let the draughtsman of my eyes be done",Judith Wright,
single work poetry
“Where’s Home, Ulysses?” Judith Wright in Europe 1937Sarah Kennedy,
2017single work criticism — Appears in:
The Journal of Commonwealth Literature,Junevol.
52no.
22017;(p. 331–349)'When Judith Wright travelled to Europe in the “loaded spring” of February 1937, the 22-year-old poet found herself witness to “a break in the consciousness of Europe”. This article argues that Wright’s experience of being an outsider in Europe at this crucial historical moment had profound implications for her poetics, in the form of a compound and productive series of displacements. Her peripatetic encounters with European cultures-in-crisis caused Wright to despair of Europe as a source of political and creative renewal, and exposed fault lines in her own cultural orientation. Sundered from her Anglophile cultural inheritance, and able to reflect on home with the distance and imaginative ambivalence of an outsider, Wright invoked Ulysses — that archetypal poetic wanderer — whose experience of archipelagic journeying came to express for her the contingencies and hauntedness of Australia’s palimpsestic identity. This essay positions the shifting perspectives and excursive patterns of Wright’s developing poetics in relation to concepts of outsideness and embodiment, drawing on the work of Mikhail Bakhtin and phenomenological philosophies of mind.' (Publication abstract)